1995 Sirens of Wisdom series A shift in focus from the Father to theMother. I would paint on quilts to represent a kind of healing. |
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317. FEMININITY SHEDS HER SKIN Medusa’s coif of snakes an implying a realignment of fearsome mythical women Provocations to probe what we can’t know or see. Identity acts as a veil. Mythology characterized by chaos, metamorphosis, but ultimately the power of creation and fertility. |
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313. PRIME MERIDIAN The work parallels Shiva, the paradoxical Hindu god who was an ascetic and sensualist, a destroyer and restorer with a site near London in the municipality of Greenwich, the place from which the world gauges time and latitude. A super woman with a formal stylized body language, hermit in her celibate body and those who frailties she exorcised. Androgyny calling gender roles into question, imbuing them with mythic strength and power. The work linksthe polemics of identitywith anotherthematic current, the relationship between humanbeingsand the natural world. |
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321. LET ME LIE ON YOUR HEART LIKE SNOW |
326. DRYAD (wild wood nymph) on loan to Griffis Studios 31 x 83” Encaustic on Scottish quilt on Russian door $6,000
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323. THE RAPE OF THE LOCK SAINT ERENI, An early Christian martyr who was committed to a brothel where she refused to renounce her faith. A more abstract investigation of the domain of the liminal, the work dealt with deployment of a trace or imprint of the self as a corporeal body. (Geraldine Duskin) |
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320. BY THE BACK WINDOW OF HER EYE A dissolving physical state, erases the presence of the audience's visceral connection. The painting incorporates two figures attempting to repair the shell of an enormous broken egg from which they have just emerged, that covort across a map of the world performing Sinostereotypical acts. A variable infared light, a tape loop of a beating heart and a double ended stethescope around an egg. A sleeping woman floats around its border. I based the work on the door in Kafka's parable, which was impossible to enter although it stood open an equivalent. |
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322. YOUTH ENTANGLED IN HER EYES 32 x 39" 300 lb Fabriano coldpress rag |
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329. I WILL DELVE ONE YARD BELOW THEIR MINDS AND BLOW THEM AT THE MOON Rows of windows in the pictoral space is both separated from the viewers world and yet connected with it. Gleaned from Hans Ricter’s Dreams that Money Can Buy in which L’eger invents an all-mannequin drama where two Amazon sisters decapitate the hapless groom, then in her wedding dress escapes on a bicycle, alludes to the celestially determined placement of ancient tombs. The tomb stones become windows and the horses become escape. I incorporated references to Marshall McLuhan’s The Mechanical Bride for the interfusion of sex and technology. Citing Fraud’s 1915 essay “Repression” (“the objects to which men give most preference, their ideals, proceed from the same perceptions and experiences which they most abhor”) the upper half of the painting consists of a dulled yellow, with a head of MEDUSA in the upper right corner. Medusa’s coif of snakes, an implying a realignment of fearsome mythical women, which deepens to a gold in the lower half. A large black oval fills the upper half of the painting seeming to evoke an apse the semicircular or polygonal space generally situated at the East end of a church and housing the choir, sanctuary and altar. Curvilinear forms represent the oculus, or round opening at the top of the dome, serving as an eye to heaven. A part of our future, that watches us through the existence of a wider reality that coincides with the physical. Spiritual connotations become an image of tenacious if desiccated hope, rising above chaos. Reminiscent of astrolabes for measuring the heavens. Domesticity and bodily existence—time on a small scale, history and the life of the mind—time on a grand scale. |